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See also:PALMER, See also:SAMUEL (1805-1881) , See also:English landscape painter and etcher, was See also:born in See also:London on the 27th of See also:January 1805. He was delicate as a See also:child, but in 1819 he exhibited both at the Royal See also:Academy and the See also:British Institution; and shortly after-wards he became intimate with See also:John See also:Linnell, who introduced him to See also:Varley, See also:Mulready, and, above all, to See also:- WILLIAM
- WILLIAM (1143-1214)
- WILLIAM (1227-1256)
- WILLIAM (1J33-1584)
- WILLIAM (A.S. Wilhelm, O. Norse Vilhidlmr; O. H. Ger. Willahelm, Willahalm, M. H. Ger. Willehelm, Willehalm, Mod.Ger. Wilhelm; Du. Willem; O. Fr. Villalme, Mod. Fr. Guillaume; from " will," Goth. vilja, and " helm," Goth. hilms, Old Norse hidlmr, meaning
- WILLIAM (c. 1130-C. 1190)
- WILLIAM, 13TH
William See also:Blake, whose See also:strange and mystic See also:genius had the most powerful effect on Palmer's See also:art. An illness led to a See also:residence of seven years at See also:Shoreham in See also:Kent, and the characteristics of the scenery of the See also:district are constantly recurrent in his See also:works. Among the more important productions of this See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time are the " See also:Bright See also:Cloud " and the "Skylark," paintings in oil, which was Palmer's usual See also:medium in earlier See also:life. In 1839 he married a daughter of Linnell. Thewedding tour was to See also:Italy, where he spent over two years in study. Returning to London, he was in 1843 elected an See also:associate and in 1854 a full member of the Society of Painters in See also:Water See also:Colours, a method to which he afterwards adhered in his painted See also:work. His productions are distinguished by an excellent command over the forms of landscape, and by mastery of See also:rich, glowing and potent colouring. Among the best and most important paintings executed by Palmer during his later years was a See also:noble See also:series of illustrations to See also:Milton's L'See also:Allegro and Il Penseroso. In 1853 the artist was elected a member of the English See also:Etching See also:Club. Considering his reputation and success in this See also:department of art, his plates are few in number. Their virtues are not those of a rapid and vivid See also:sketch; they aim rather at truth and completeness of tonality, and embody many of the characteristics of other modes of See also:engraving—of See also:mezzotint, of See also:line, and of woodcut. Readily accessible and sufficiently representative plates maybe studied in the "See also:Early Ploughman," in Etching and Etchers (1st ed.), and the "Herdsman's Cottage," in the third edition of the same work. In 1861 Palmer removed to See also:Reigate, where he died on the 24th of May 1881. One of his latest efforts was the See also:production of a series of etchings to illustrate his English metrical version of See also:Virgil's Eclogues, which was published in 1883, illustrated with reproductions of the artist's water-colours and with etchings, of which most were completed by his son, A. H. Palmer.
End of Article: PALMER, SAMUEL (1805-1881)
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